Using Natural User Interfaces for Previsualization

Total Page:16

File Type:pdf, Size:1020Kb

Using Natural User Interfaces for Previsualization EAI Endorsed Transactions on Creative Technologies Research Article Using Natural User Interfaces for Previsualization Rainer Malaka, Tanja Döring∗, Thomas Fröhlich∗, Thomas Muender∗, Georg Volkmar∗, Dirk Wenig∗, Nima Zargham∗ Digital Media Lab, TZI, Bremen, Germany [email protected] Abstract INTRODUCTION: An important phase in the process of visual design for the narrative media is previsualization (previs). Professionals use complicated 3D software applications that are not especially designed for the purpose of previs which makes it difficult for the artists and non-technical users to create previs content. OBJECTIVES: The aim is to empower artists to express and visualize their ideas and creative capabilities in an optimal way. METHODS: We suggest using natural user interfaces (NUIs) and discuss suitable interactions for different previs tasks. We developed and evaluated a series of individual prototypes as well as a central overarching prototype following our NUI concepts. RESULTS: The results show that our NUI-based interaction methods were perceived highly positive and experts found it valuable for their work. CONCLUSION: With only a brief familiarization phase, NUIs can provide a convenient substitute to traditional design tools that require long training sessions. Received on 04 March 2021; accepted on 15 March 2021; published on 16 March 2021 Keywords: Previsualization, Natural User Interface, Virtual Reality, Animation, Film, Theatre, Visual Effects Copyright © 2020 Rainer Malaka et al., licensed to EAI. This is an open access article distributed under the terms of the Creative Commons Attribution license, which permits unlimited use, distribution and reproduction in any medium so long as the original work is properly cited. doi:10.4108/eai.16-3-2021.169030 1. Introduction requires proficient technical experts excluding the non- technical, imaginative users namely artists, designers, Previs is known as an indispensable and critical process and directors from the previs process. This requires that could increase the production value of a project [1, various design iterations and constant communication 2]. It has been adopted for decades in disciplines such as between the technical experts and the creative staff [5]. film, product design, and architecture and is growing in This could be problematic due to the fact that most popularity because of technological improvements [3]. creatives are used to be in control of the design process Most of today’s previs task is handled digitally and by drawing, writing, or sketching. despite all the potential advantages for production, it Current 3D software programs used by experts for is time consuming and requires trained personnel. The previs purposes provide an extensive set of features and tools used for the purpose of previs are frequently 1 2 3 functionalities, many of which are for highly specific complex 3D tools such as Maya , Auto CAD , Blender use cases that are not really essential for previs. The and recently game engines such as Unity4 and 5 collection of all these features within a 2D interface Unreal [4]. The use of such tools is time consuming and makes these tools complex and could frustrate users that intend to use them only for the purpose previs. Furthermore, several specific functions required for ∗Authors are listed alphabetically previs may not be supported by standard tools and 1https://www.autodesk.com/products/maya 2 a great deal of extra effort might be needed to find https://www.autodesk.com/products/autocad workarounds. 3https://www.blender.org/ 4https://unity3d.com/ In order to design a previs software that particularly 5https://www.unrealengine.com provides the necessary functions for the previs process, 1 EAI Endorsed Transactions on Creative Technologies 12 2020 - 03 2021 | Volume 8 | Issue 26 | e5 Rainer Malaka et al. investigating the tasks that are specifically carried 2. Related Work out in digital previs is crucial. In a survey study amongst practitioners [5], we identified and analyzed 2.1. Natural User Interfaces a persistent collection of previs tasks and the main The term natural user interfaces refers to a broad functionalities that a reliable previs software should collection of interactive technologies that offers rich support. Previs applications user base also comprises ways for interacting with the digital world using of a broad range of users in different roles who existing human capabilities for communication and have different workflows and stories: what is wanted human capacity to manipulate the physical world [7]. for animation is not necessarily what is wanted for Although it still lacks a common definition since the theatre [5]. understanding of this term is subjective to the constant We believe that users should have the possibility to development of the technology [8]. However, in the choose their interaction method to use for different literature, there are recurring aspects of NUIs that previs tasks and select the one best fitted for their appear to establish a shared view on natural user creative needs. This way, the artist can express their interfaces. NUIs utilize the capabilities of human beings creativity and be more focused on their previs task to express themselves with their body movement, voice without having to face an inflexible interface that does and gestures, thus described as intuitive [9] [10]. The not specifically consider the needs of an artist. To term NUI encapsulates any technology that allows users involve non-technical people more into the previs cycle to interact in a more natural or humanistic way with and empower artists to use a digital previs software, computer systems [11]. we propose using natural user interfaces (NUIs) for Early research on NUIs roots back to the 1980s, previs tasks to empower users in how they can express where they introduced the “Put that There” system, an themselves in an optimal way depending on the task interface controlled by voice and gesture [12]. In the they want to perform in the previs cycle. NUIs have beginning, the term NUI was mainly used for (multi- the potential to minimize the effort needed to translate )touch gestural interaction. Eventually, researchers and user’s actions and provide increased direct natural designers worked with different modalities such as expressiveness [6]. speech, gesture3D, manipulation, and virtual and In the pages that follow, we examine the potential augmented reality (AR), expanding the terminology. NUIs to support intuitive interfaces for the purpose of Some popular consumer products that have been previs. Moreover, we provide a comprehensive analysis mentioned a lot with reference to natural user interfaces of digital previs in practice within the application are the Wii6 and the Kinect for Microsoft Xbox7, domains of film, animation and theatre. We then both vision-based devices that indirectly or directly propose recommendations to support such tasks with support full-body movements for system input [13]. NUIs and create the natural interaction concept by The premise of NUIs is to let computers understand mapping both users’ needs and the previs task the innate human means of interaction and not induce characteristics to meaningful and natural interaction humans to train to the language of computers [14]. They techniques. In order to examine our interaction concept, aim to provide a smooth user experience where the we developed and evaluated a series of individual technology is almost invisible [15] and make users learn prototypes which we refer to as ’vertical prototypes’, the interactions as quickly as possible. Liu describes as well as a central overarching prototype which we the characteristics of NUIs as being user-centred, multi- call the ’horizontal prototype’. The prototypes were channel, inexact, high bandwidth, voice-based, image designed within the framework of the EU-project based, and behaviour based [16]. “first.stage”. First.stage is a previsualization project that A very similar concept to natural user interfaces is researches and designs natural user interfaces and tools Reality-based Interaction (RBI) by Jacob et al. [17]. for previs in order to make it accessible to non-technical They proposed RBI as a unifying concept that ties users. together a large subset of the evolving human-computer Using these prototypes, we aim to find how to interaction techniques. The RBI framework allows integrate NUIs in the previs process of the creative to discuss aspects of the multitude of current user personnel and how NUIs affect the production process interfaces “beyond the desktop” in a structured way in comparison to common 3D software. by identifying and analyzing aspects of reality and The main contribution of this work is to provide a computational power that are useful for interaction. natural user interface concept that is built around a set The authors argue that the new interaction styles make of interaction methods which are chosen specifically to use of users’ pre-existing knowledge of the everyday, the nature of the diverse previs tasks. The concept is based on the requirements of the application areas and incorporates a detailed review of the literature. 6http://wii.com/ 7https://www.xbox.com 2 EAI Endorsed Transactions on Creative Technologies 12 2020 - 03 2021 | Volume 8 | Issue 26 | e5 Using Natural User Interfaces for Previsualization non-digital world. Their assumption is that “basing is the combination of performance animation with interaction on pre-existing real world knowledge and physics simulation. However, the combination of both skills may reduce the mental effort required to operate technologies is not trivial. An approach is presented in a system because users already possess the skills a natural user interface that combines motion capture needed” [17]. using the Kinect sensor and physics simulation for Although you can see the use of humans’ experiences character animation by Liu et al [24]. They introduce a from the physical world to a stronger degree in most framework that combines both technologies to prevent recent user interfaces, computer tools and applications conflicting inputs from users’ movements and physics would not be as powerful, if systems were based purely engine.
Recommended publications
  • Infosys to Demonstrate Next-Generation Natural User Interface Cable TV Concepts at the Cable Show’S “Imagine Park”
    PRESS RELEASE Infosys to Demonstrate Next-Generation Natural User Interface Cable TV Concepts at The Cable Show’s “Imagine Park” Leveraging device sensor capabilities and digital set-top boxes will enable rich, interactive television viewing experiences letting consumers “wave goodbye” to their remote controls BOSTON, MAY 22, 2012 – Infosys will showcase new and innovative ways that consumers may experience television in the future via multi-channel natural user interfaces at “Imagine Park,” an interactive, high-profile platform for introducing and demonstrating innovative new products and services at The Cable Show 2012. Rather than using a remote control, Infosys will show and discuss how digital consumers can use voice, facial-recognition and simple gesture-based movements to access their personalized content and interact with the set-top- box of the future. Natural user interfaces (NUI) – touch, voice, video and gesture interfaces – in devices ranging from smartphones and tablets to peripherals such as videogame consoles provide an opportunity for cable companies to deliver personalized interactive customer experiences. “Cable television innovation is crucial to serve the growing number of digital consumers who expect rich, interactive, personalized viewing experiences, and natural user interfaces are the next step in the evolution of TV entertainment,” said Mit Majumdar, head of U.S. cable practice at Infosys. “With our breadth and depth of expertise, Infosys provides cable operators the ability to capture the imagination of their customers by helping them quickly launch new technologies like NUI that allow consumers to access personalized TV with the wave of a hand or voice command.” From the perspective of cable multiple services operators, multi-channel user interfaces will enable service providers to increase customer loyalty, emphasize personalization and help add interactive revenue-generating channels to differentiate their television service offerings.
    [Show full text]
  • The Performance and Materiality of the Processes, Spaces and Labor of VFX Production
    Sarah Atkinson Interactive ‘making-of’ machines: The performance and materiality of the processes, spaces and labor of VFX production Abstract This article analyzes and interrogates two interactive museum installations designed to reveal behind-the-scenes visual effects (VFX) materials from Inception (2010) and Gravity (2013). The multi-screen, interactive, and immersive installations were both created in direct collaboration with the VFX supervisors who were responsible for pioneering the new and innovative creative solutions in each of the films. The installations translate these processes for a wider audience and as such they not only provide rich sites for textual analysis as new ancillary forms of paratextual access, but they also provide insights into the way that VFX sector presents itself, situated within the wider context of the current global VFX industry. The article draws together critical production studies, textual analysis, and reflections from the industry which, combined, provide new understandings of these interactive forms of ancillary film “making-of ” content, their performative dimensions, and the labor processes that they reveal. Context their conception and presentation within the wider context of the current global VFX industry. This article analyzes and interrogates two interactive The decadent displays of VFX excess and access museum installations that were designed to reveal presented in both installations are representative of behind-the-scenes materials from Inception (2010) the currently flourishing VFX industry within the and Gravity (2013) in order to showcase the UK which has been boosted in recent years, by a acclaimed, breakthrough visual effects (VFX) of system of tax incentives which have been in place 3 each of the films.
    [Show full text]
  • Natural Interaction in Augmented Reality Context
    Natural Interaction in Augmented Reality Context John Aliprantis1, Markos Konstantakis1, Rozalia Nikopoulou2, Phivos Mylonas2 and George Caridakis1 1 University of the Aegean, 81100 Mytilene, Greece {jalip, mkonstadakis, gcari}@aegean.gr 2 Ionian University 49100 Corfu, Greece [email protected], [email protected] Abstract. In recent years, immersive technologies like Virtual and Augmented Reality have been accelerating at an incredible pace, building innovative experiences and developing new interaction paradigms. Current research has widely explored gesture interaction with Augmented Reality interfaces, but usually requires users to manipulate input devices that could be cumbersome and obtrusive, thus preventing them from interacting efficiently with the 3D environment. Therefore, Natural User Interfaces and freehand gesture interaction are becoming more and more popular, improving the user’s engagement and sense of presence, providing more stimulating, user-friendly and non-obtrusive interaction methods. However, researchers argue about the impact of the interaction fidelity in usability and user satisfaction, questioning the level of naturalness that should characterize the interaction metaphors. Current paper proposes different gesture recognition techniques for three basic interaction categories (translation, rotation and scaling) in a Leap Motion Controller - Augmented Reality framework. A prototype is implemented in order to evaluate efficiency and usability of the proposed architecture. Finally, experimental results are discussed. Keywords: Natural interactionAugmented realityLeap motion controller Gesture recognition. 1 Introduction Over the last few years, Augmented Reality (AR) has developed into a cutting edge technology, providing new ways to interact with computer – generated information. By removing the boundaries between physical and virtual, AR has been able to create more engaging experiences, enhancing user’s enjoyment and satisfaction.
    [Show full text]
  • COLLEGE of LIBERAL ARTS in All Respects, the College of Liberal Arts Is Engaged In
    DEPARTMENT OF ECONOMICS COLLEGE OF DEPARTMENT OF ENGLISH AND LANGUAGE ARTS LIBERAL ARTS DEPARTMENT OF FINE AND PERFORMING ARTS (Fine Art, Music, Theatre Arts) DEPARTMENT OF HISTORY AND GEOGRAPHY DEPARTMENT OF MILITARY SCIENCE DEPARTMENT OF PHILOSOPHY AND RELIGIOUS STUDIES DEPARTMENT OF POLITICAL SCIENCE AND PUBLIC POLICY DEPARTMENT OF PSYCHOLOGY DEPARTMENT OF SOCIOLOGY AND ANTHROPOLOGY DEPARTMENT OF WORLD LANGUAGES AND INTERNATIONAL STUDIES COLLEGE OF LIBERAL ARTS In all respects, the College of Liberal Arts is engaged in Dr. Pamela E. Scott-Johnson, Interim Dean Creating Opportunities to Reach Excellence. CORE VALUES The College of Liberal Arts is the largest academic division at the University. In addition to offering twelve According to its philosophy and values, the College of undergraduates degree programs that represent Liberal Arts is a learning community that offers a corps of disciplinary focuses, it also offers a large portion of the educational programs and services that promotes: courses in the General Education Program administers the Intellectual curiosity University’s Writing Proficiency Examination. All Independence Morgan students, regardless of major, take courses and engage in other activities which reflect the historical Interdependence foundations of liberal education. Self-awareness Service LIBERAL COLLEGE MISSION Commitment to problem-solving Leadership The mission of The College of Liberal Arts, consistent A Commitment to life-long learning O with that of Morgan State University, is to offer high- R F quality academic programs and to promote effective Competency in written and oral communication, TS student-centered teaching and learning, outstanding Achievement student achievement, cutting edge faculty research and GOALS scholarship, and broadranging service to the professions and the community.
    [Show full text]
  • Programmable Image-Based Light Capture for Previsualization
    ii Abstract Previsualization is a class of techniques for creating approximate previews of a movie sequence in order to visualize a scene prior to shooting it on the set. Often these techniques are used to convey the artistic direction of the story in terms of cinematic elements, such as camera movement, angle, lighting, dialogue, and char- acter motion. Essentially, a movie director uses previsualization (previs) to convey movie visuals as he sees them in his ”minds-eye”. Traditional methods for previs include hand-drawn sketches, Storyboards, scaled models, and photographs, which are created by artists to convey how a scene or character might look or move. A recent trend has been to use 3D graphics applications such as video game engines to perform previs, which is called 3D previs. This type of previs is generally used prior to shooting a scene in order to choreograph camera or character movements. To visualize a scene while being recorded on-set, directors and cinematographers use a technique called On-set previs, which provides a real-time view with little to no processing. Other types of previs, such as Technical previs, emphasize accurately capturing scene properties but lack any interactive manipulation and are usually employed by visual effects crews and not for cinematographers or directors. This dissertation’s focus is on creating a new method for interactive visualization that will automatically capture the on-set lighting and provide interactive manipulation of cinematic elements to facilitate the movie maker’s artistic expression, validate cine- matic choices, and provide guidance to production crews. Our method will overcome the drawbacks of the all previous previs methods by combining photorealistic ren- dering with accurately captured scene details, which is interactively displayed on a mobile capture and rendering platform.
    [Show full text]
  • Natural User Interfaces and Accessibility
    Chapter 1 Natural User Interfaces and Accessibility he widespread adoption of mobile computing is a computers using actions related to everyday behavior, good thing for librarians who care about access such as touch, gestures, speech, and conversation.1 T for all. That’s because mobile devices make use The goal is to make it easy for humans to understand of natural user interfaces, and those interfaces are and use computers without having to learn compli- making computing easier for people of all ages and cated or abstract ways of doing things. Designers of abilities, as you’ll see in this report. these interfaces aim to create experiences that feel This trend, combined with the move toward multi- just as natural to a novice as to an expert user—and device ecosystems and the emphasis on students as for expert users it can feel like an extension of their creators with mobile apps, means that mobile learning body. is headed in a direction that is empowering for learn- ers of all abilities. There are other trends in mobile learning, but this Putting the Human before report focuses on these three: the Computer: The Move from GUI to NUI • natural user interfaces and accessibility • multi-device ecosystems NUIs are a new branch in the evolution of human- • content creation with mobile devices computer interaction, after GUIs (graphic user inter- faces). GUIs were designed to make computing easier That’s because there are synergies between these to learn than command-line interfaces, where you had trends that offer opportunities for those who care to remember specific commands and type them.
    [Show full text]
  • Glossary of Terms
    Virtual Programming 2.0 Glossary of Terms Angle- The relative angle and position between the subject being filmed and the camera lens. Also see Dutch-angle, eye-level angle. One of the key aspects of a shot. Aperture- the iris of a camera lens. Opening and closing this iris control how much light hits the image sensor. Aperture is one of the three settings that control your exposure, along with ISO and Shutter Speed. Aspect Ratio- the height and width of a video frame, typically measured in pixels. Today, 16:9 and 2.35:1 are common video aspect ratios. Colloquially, aspect ratio is sometimes broken down into “portrait” and “landscape” modes when filming on a tablet or phone camera. Blocking- the stage in video production when the director walks the performers and cameraperson through all the action, camera movement, and light cues a shot. Blocking is done before a scene is filmed. Camera Movement- when a camera or camera lens moves during filming in order to change the shot distance or angle mid-filming. Some examples of common camera movements include pan, track, tilt, and zoom. Dynamic Shot- A shot with one or more types of camera movements Static Shot- A shot without any camera movements Chroma-Keying- the process in which a solid-colored backdrop (often a blue or green screen) is replaced digitally with the desired background during post-production. Close Up- See Distance Codec- A type of software designed to compress audio or video footage in a way that makes the file format easily readable to other computer programs.
    [Show full text]
  • VR As a Content Creation Tool for Movie Previsualisation
    VR as a Content Creation Tool for Movie Previsualisation Quentin Galvane* I-Sheng Lin Fernando Argelaguet† Tsai-Yen Li‡ Inria, CNRS, IRISA, M2S National ChengChi Inria, CNRS, IRISA National ChengChi France University France University Taiwan Taiwan Marc Christie§ Univ Rennes, Inria, CNRS, IRISA, M2S France Figure 1: We propose a novel VR authoring tool dedicated to sketching movies in 3D before shooting them (a phase known as previsualisation). Our tool covers the main stages in film-preproduction: crafting storyboards (left), creating 3D animations (center images), and preparing technical aspects of the shooting (right). ABSTRACT storyboards or digital storyboards [8] remain one of the most tradi- Creatives in animation and film productions have forever been ex- tional ways to design the visual and narrative dimensions of a film ploring the use of new means to prototype their visual sequences sequence. before realizing them, by relying on hand-drawn storyboards, phys- With the advent of realistic real-time rendering techniques, the ical mockups or more recently 3D modelling and animation tools. film and animation industries have been extending storyboards by However these 3D tools are designed in mind for dedicated ani- exploring the use of 3D virtual environments to prototype movies, mators rather than creatives such as film directors or directors of a technique termed previsualisation (or previs). Previsualisation photography and remain complex to control and master. In this consists in creating a rough 3D mockup of the scene, laying out the paper we propose a VR authoring system which provides intuitive elements, staging the characters, placing the cameras, and creating ways of crafting visual sequences, both for expert animators and a very early edit of the sequence.
    [Show full text]
  • Than Digital Makeup: the Visual Effects Industry As Hollywood Diaspora
    More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora By Sarah K. Hellström Department of Cinema Studies Master’s Thesis 15 hp Master Course 30 hp, VT 2013 Supervisor: Dr. Patrick Vonderau If I hear one more person who comes up to me and complains about [how]‘computer-music has no soul’ then I will go furious, you know. ‘Cause of course the computer is just a tool. And if there is no soul in computer-music then it's because nobody put it there and that's not the computers role, it's the role of the songwriter. He puts down his soul in the song if he wants to. A guitar will never write a song and a computer will never write a song, these are just tools.i - Björk Title: More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora Author’s name: Sarah K. Hellström Supervisor: Dr. Patrick Vonderau Abstract This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies.
    [Show full text]
  • Blender Institute "Spring" a Poetic Fantasy Short Film
    ANIMATION Global ANIMATION BLENDER 2.8 THE GAME-CHANGING TOOLS | SPECIAL SECTION: ANNECY 2019 MAGAZINE © JUNE 2019 © BLENDER INSTITUTE "SPRING" A POETIC FANTASY SHORT FILM DREAMERS STUDIO THE BIGGEST ANIMATION FILMS DISTRIBUTOR IN CHINA LIGHT CHASER ANIMATION STUDIO WHITE SNAKE – A CHINESE ANIMATION EPIC TON ROOSENDAAL – FOUNDER OF BLENDER VISIONARY, FILM-MAKER AND SOFTWARE GENIUS JUNE 2019 ® Blender Cloud Join the production platform used daily by a world-class team of artists and developers Join us for only $9.99/month! Courses & Tutorials Libraries In-depth training on character modeling, 2D HDR images up to 16K and 24 EVs. animation, sculpting, 3D printing, rigging, +1500 High quality textures. VFX and more. Production quality characters. Open-movies Services All the production files, assets, artwork Production-management software for from 12 open-movies your film, game, or commercial projects. Plus never-seen-before content. Render farm software. Visit cloud.blender.org June 2019 2 ANIMATION Global Magazine Blender Cloud is the creative hub for your projects, powered by Free and Open Source Software. ANiMATION GLOBAL© MAGAZINE JUNE 2019 • SPECIAL ANNECY EDITION 5 Publisher’s Letter 6 SPRING a poetic SPECIAL SECTION: fantasy short film produced by the Blender ANNECY 2019 Institute 15 Festival International Du Film D’Animation D’Annecy 16 Annecy Goes to Cannes 42 Taking Indian Animation to the World 17 Japanese Animation is in the 45 Dreamers Studio the spotlight largest animation film distributor in China 18 The Marché du Film and
    [Show full text]
  • Entertainment Studies Enroll at Uclaextension.Edu Or Call (800) 825-9971
    88 Entertainment Studies Enroll at uclaextension.edu or call (800) 825-9971 (CBS), The District (CBS), Diagnosis Murder (CBS), Another World (NBC), and recurred on Without A Trace Sneak Preview (CBS) for the first 4 seasons. Visit entertainment.uclaextension.edu/sneak-preview ENTERTAINMENT for weekly movie information. Acting for the Camera I X 410.3 Theater 4 units Sneak Preview: Contemporary Films Participants learn to get comfortable in front of the and Filmmakers lens. Exercises begin with on-camera interviews so STUDIES 804.2 Film & Television 2 CEU that students can view their screen images in play- Join us for an exclusive preview of new movies before back. Instruction focuses on understanding technical their public release. Enjoy provocative commentary and and emotional adjustments required for working in 88 Sneak Preview in-depth discussions with invited guests after each front of the camera, in a relaxed and truthful way, and developing intimacy with the camera. Topics include 88 Acting screening. Recent films and speakers have included: Whiplash with director Damien Chazelle and actor Miles the difference between frame sizes and learning to hit 90 Cinematography Teller; Birdman with Fox Searchlight Pictures’ Claudia marks. Participants hone their acting techniques through scene-study guidelines and sensory and 91 Development Lewis; The Theory of Everything with actors Eddie Redmayne and Felicity Jones; The Imitation Game with moment-to-moment exercises, as well as monologue 91 Directing producers Ido Ostrowsky, Nina Grossman and Teddy work. Some exercises are performed on camera with emphasis on close-ups, simple scenes, and basic 93 Post-Production Schwarzman; Black and White with director Mike Binder and actor/producer Kevin Costner; Red Army with direc- camera moves.
    [Show full text]
  • Previsualization & Virtual Production
    PREVISUALIZATION &VIRTUAL PRODUCTION TWO DAY CONFERENCE FEBRUARY 24-25, 2011 Screen Industries STUDIO 1, PINEWOOD TORONTO STUDIOS Research and Training Centre WELCOME TO SIRT’S PREVISUALIZATION AND VIRTUAL PRODUCTION CONFERENCE A MESSAGE A MESSAGE FROM THE PRESIDENT FROM THE DIRECTOR OF SHERIDAN COLLEGE OF THE SIRT CENTRE Welcome to Ontario’s first Previsualization and Previsualization and virtual production are Virtual Production: BRINGING IT ALL TOGETHER key areas of research, capacity building and conference organized by the Screen Industries skills development at the SIRT Centre. We’re Research and Training (SIRT) Centre. SIRT was working with many of Ontario’s technology, established a year ago at Pinewood Toronto production content and service companies to Studios to broaden Sheridan’s presence in the further innovation, and are coordinating our development of research capacity, knowledge efforts with those of key international groups dissemination and innovation in Ontario’s such as the Previsualization Society to ensure screen-based industries. Ontario remains at the forefront of global technological and business developments. SIRT is a natural extension of Sheridan’s Locally, we’re partnering with our conference curriculum excellence and international reputation in animation, live-action co-sponsors FilmOntario, CASO, DGC – Ontario, I.A.T.S.E. 667 and Pinewood storytelling and digital design. The Centre works with academic and industry Toronto Studios to foster excellence and capacity building in these areas. partners, such as the sponsors of this conference, to address present and future production challenges and to identify areas where technological Many people from these organizations are sitting on panels at this and business innovation can be rapidly translated into new jobs and conference.
    [Show full text]